In many ways Weinberg SQ are not his easiest works, not by a long stretch. Even Shostakovich his SQ are better approachable That does not mean that they are not accessible, they are, but they need close attention and endurance, to hear through all the notes the intention of the music. This is not an easy outing, but it needs a form of intellectual and emotional approach, the combination in the right measure, will open these works like Sesame doors. But they are tough doors to break nevertheless.Approach them carelessly and they will reward you with cold contempt.In the first assessment you have to remember Shostakovich his SQ, to get some sort of bearing, but only to get that, for the ride is exclusively Weinberg's, despite Shostakovich influence. Weinberg shares these long stretches of ppp passages, as you will hear in the opus 66, with Shostakovich, but the rhythmic basis is totally different, and almost with the opposite effect. Weinberg is a true master in his own right, and his working of the material is at one angle magic, and deeply moving, but also stirs you up to a irritating level of attention seeking explosions of experimental melodies, like in his opus 124 written in 1980. Some of the fff passages are hefty and confrontational, hard hitting and going to a certain limit of despair, but the slow movements appease, although the power and angle of the opus 124 is the most modern angle you get from Weinberg, and is bound to surprise your senses, after the opus 35 and 66. Tonal, as widely stretched as possible, these works satisfy your need for drama and introspection. Recommended with some caution. The recording and performance is absolutely sublime.